Franz LISZT (1811-1886)
Works for Piano and Orchestra, Volume 2:
De profundis, op. 668, S691
Malédiction, op. 452, S452
Fantasia on Hungarian Folk tunes, op. 458, S123
Totentanz, op. 457, S126
Louis Lortie, piano.
The Hague Residentie Orchestra/ George Pehlivanian
Recorded, The Hague, July 1999
CHANDOS CHAN 9864
[79.39]
Crotchet
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recommendations
The longest and least known piece here is De profundis which was written
when Liszt was in his twenties but never completed (only the ending and
indications of temp etc. were missing). The version here is by Jay Rosenblatt
which was written at the end of the least century. It is a vast one-movement
sonata which lasts over 33 minutes. It is played here with verve and is very
enjoyable.
Malédiction (under a curse), for piano and strings, is another
early work, in although shorter, resembles De profundis in tone. Here
again it is played well and the Hague orchestra under Pehlivanian accompanies
well.
The Hungarian Fantasia is a well known work-horse which used to be
very popular. It is based on Liszt's Hungarian Rhapsodie No. 14 and
whilst not the most subtle of pieces with overbearing brass parts typical
of Liszt at his most bombastic. To be effective, both piano and orchestra
need to go all out. Such pianists as Jorge Bolet, György Cziffra and
Shura Cherkassky have recorded more exciting versions; likewise here the
orchestral part sounds rather reticent.
Totentanz (dance of death) is a set of variations based upon the famous
medieval chant 'Dies irae' and is one of Liszt's most impressive works. Although
well played here, it lacks the ultimate degree of menace which the piece
can convey. Jorge Bolet with the London Symphony Orchestra/Ivan Fisher, has
recorded a superb performance of this exciting piece.
The recorded sound is clear but lacks impact especially in the orchestral
climaxes. The presentation is effective, with serviceable notes by Jeremy
Siepmann. Overall this CD is an interesting one, with refined playing, and
is at its best in the two early works.
Arthur Baker.